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Six Pieces, Op 15

Recordings

Belgian pianist Arthur de Greef studied with Franz Liszt and also became a close friend of Grieg, who strongly admired his playing. He was a mainstay of the HMV catalogue in the 1920s and this set brings together for the first time his complete re ...» More

Philip Martin offers a delectable array of salon music at its finest, from household names such as Tchaikovsky, Sibelius, Mendelssohn and Grieg to somewhat rarer gems from Tekla Badarzewska and Ethelbert Nevin.» More

Details

‘After Chopin’, wrote Paderewski, ‘Moritz Moszkowski (1854–1925) best understands how to write for the piano, and his writing embraces the whole gamut of piano technique.’ Perhaps we may look askance at this statement today, but Paderewski was not far wide of the mark. Moszkowski’s untroubled, graceful, melodic and well-crafted piano music is expertly laid out for the hands. No one could pretend that it is deep music but, as one writer put it, ‘if it fails to stir the intellect, it sets the pulses tingling’.

Moszkowski’s music was in the repertoire of many great pianists, among them Hofmann—who studied with Moszkowski and received the dedication of his piano concerto—Godowsky, Bauer, Lhevinne, Rachmaninov, Friedman (who recorded the Serenade), Horowitz and Cherkassky. Even without his affluent background, Moszkowski would have been able to live comfortably on the early successes of his Spanish Dances, Op 12 (for piano duet) and the Serenata. Its lilting melody attracted the attention of lyricists: one Nathan H Dole wrote the frightful ‘I wait beneath thy window, love’ (recorded in 1915 by Fritz Kreisler and John McCormack) while a rather more sensitive German handling of the tune, ‘Liebe kleine Nachtigall’, attracted the talents of Richard Tauber (1935) and Miliza Korjus (1936).